Monday, July 12 2004
'I look older in person than I come across on film,' observes DMX while watching himself in Never Die Alone.
The Manchurian Candidate throws into horrific relief a chaotic sense of U.S. national identity.
In Heartburn, we're not privy to any clues that Mark might be the unfaithful party, even though we know it's a plot device coming down the track like a Metroliner.
'At the beginning, says Bertolucci,' the characters are a bit unshaped, and day after day, you can see them becoming something new, something that didn't exist before.
Anthony Minghella's image of the birds in snow articulates Cold Mountain's aesthetic and themes, its interest in collision and reverie, in nostalgia and resistance.
'It seemed like a microcosm of life,' says Jackie Kallen of boxing.
Tuesday, July 6 2004
'Hip-hop to me,' says Dr. Dre, 'is a way out.'"
Omar Sharif observes, 'It's very difficult for me to find parts at my age, because I have this very peculiar accent which is neither French nor English nor Italian. I'm sort of a foreigner.'
The Lost Skeleton of Cadavra constitutes another attempt, lovingly based on bad, low-budget movies, borrowing from and referencing classics.
Indie fanatics will appreciate this behind-the-scenes look at the independent film business set against the backdrop of the Sundance Film Festival.
Monday, June 28 2004
Originally released in 1960, The World of Suzie Wong still elicits both fond remembrance and complete revulsion.
Dwight Yoakam needs our support, and that's the only reason to watch 3-Way.
As Kyle's nightmare indicates, The Perfect Score includes a rudimentary political critique of the U.S. educational and testing system.
Eddie (Cedric the Entertainer) comes to understand a new place for himself, and, no small thing, frames an acutely political history by his own story.
Monday, June 14 2004
Gaining resonance with today's 'war on terror,' The Weather Underground, recalls another unsettled social scene, during another unsettled period.
Joe Simpson says, 'I'd forgotten how difficult it was. I've told the story so many times, it's just become a fiction.'"
Hearing Tupac Amaru Shakur talk about himself in the past tense is unnerving at first. Not only was he profound and perceptive in his early 20s, he was prescient too.
This technological nightmare fuses free-market corporatism gone amuck with the regimentation and loss of individuality that characterized the Soviet empire.
The casting of Duane Jones provides the film with a racial subtext, overtly linked to the social and political turmoil of late 1960s U.S.
Always in the present, Drew Barrymore's Lucy is changed in an instant. And she's irresistible.